Reclusive Rubin Farr teams up with vocal but unsuccessful multi-level salesman Ed Tuttle on a quest to bury Rubin's dead cat in the "perfect spot." Their trip takes them across Utah's desert where they have run-ins with Ed's ex-wife Rula and an elusive Andy Warhol critic.
As an extremely avid fan of DC’s animation, I’ve become familiar with the way the studio uses Batman as a bit of a Trojan Horse to introduce some of their lesser known characters.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
Why is 'The Green Knight' so white? People of color are so removed from the origins of 13th century art. We’re looking toward the future, and part of that should be updating aspects of our stories to mirror those evolutions.
The Cycle refuses to lean into the same old, same old monster-movie tropes and builds the entire premise around the intellect and the history of a capable, smart female protagonist.
Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.
Weird has a name and it's, Weird Al. 'Weird: The Al Yankovic Story' makes you want to "Eat it" then "Beat it".
